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music and folk, comedy, storytelling and theater. In the past twelve years, over three million people have attended Millennium Stage performances. The Millennium Stage has presented more than 42,000 artists, which includes over 4,000 international artists from more than 70 countries; performers representing all 50 states; and 20,000 Washington-area ensembles and solo artists. The Charlie Byrd Trio and the Billy Taylor Trio were the first artists to delight audiences with a free performance on March 1, 1997. In 1999, the Center began web-casting each night's live performance, and continues to archive and maintain each event in a

John F. Kennedy Center for the Performing Arts

database of over 3,000 performances which may be accessed via the Center's website. Performing Arts for Everyone initiatives also include low- and no-cost tickets available to performances on every stage of the Kennedy Center, and several outreach programs designed to increase access to Kennedy Center tickets and performances. The Conservatory Project. An initiative of the Millennium Stage, the Conservatory Project is a semi-annual event occurring in February and May that is designed to present the best young musical artists in classical, jazz, musical theater, and opera from leading undergraduate and graduate conservatories, colleges and universities. Artist Residencies

John F. Kennedy Center for the Performing Arts

. The Kennedy Center hosts residencies for artists to collaborate with the Center's performing ensembles, programmers, and community initiatives. The Center holds positions for Composer-in-Residence, Education Artist-in-Residence, and Culture Artist-in-Residence. The current artists-in-residence are The Roots, author Jacqueline Woodson, composer Carlos Simon, and pianist Robert Glasper. Theater. The Center has co-produced more than 300 new works of theater over the past 43 years, including Tony-winning shows ranging from "Annie" in 1977 to "A Few Good Men", "How to Succeed in Business Without Really Trying", "The King and I", "Titanic", and

John F. Kennedy Center for the Performing Arts

the American premiere of "Les Misérables". The Center also produced the "Sondheim Celebration" (six Stephen Sondheim musicals) in 2002, "Tennessee Williams Explored" (three of Tennessee Williams' classic plays) in 2004, "Mame" starring Christine Baranski in 2006, "Carnival!" in 2007, August Wilson's "Pittsburgh Cycle" (Wilson's complete ten-play cycle performed as fully staged readings) and "" both in 2008, and a new production of "Ragtime" in 2009. The Kennedy Center Fund for New American Plays has provided critical support in the development of 135 new theatrical works. In 2011, a new production of "Follies" starring Bernadette Peters opened at the

John F. Kennedy Center for the Performing Arts

Eisenhower Theater, and transferred to Broadway that fall. Kennedy Center Honors. Since 1978, the Kennedy Center Honors have been awarded annually by the Center's Board of Trustees. Each year, five artists or groups are honored for their lifetime contributions to American culture and the performing arts, including dance, music, theater, opera, film, and television. The Center has awarded the Mark Twain Prize for American Humor since 1998. Local performing arts organizations. Many local arts organizations present (or have presented) their work at the Kennedy Center. Some of these include: Other events. During the American Bicentennial, the Kennedy Center hosted

John F. Kennedy Center for the Performing Arts

numerous special events throughout 1976, including six commissioned plays. The center hosted free performances by groups from each state. In December 1976, Mikhail Baryshnikov's version of "The Nutcracker" ballet played for two weeks. The Kennedy Center also hosts special inauguration events and galas. In 1977, the Opera House hosted George Bernard Shaw's "Caesar and Cleopatra" with Rex Harrison and Elizabeth Ashley. The American Ballet Theatre has also frequently performed at the Kennedy Center. The troupe's 2004 production of "Swan Lake", choreographed by Kevin McKenzie, was taped there, shown on PBS in June 2005, and released on DVD

John F. Kennedy Center for the Performing Arts

shortly after. Productions of "The Lion King" and Trevor Nunn's production of "My Fair Lady" (choreographed by Matthew Bourne) were presented in the 2007–2008 season, to name a few. The 50th Anniversary Celebration Concert was held on September 14, 2021, and is scheduled to air on PBS on October 1, 2021. Audra McDonald hosted, and First lady Jill Biden gave opening remarks. Millennium Stage Archives. The Kennedy Center stages free daily performances on its Millennium Stage in the Grand Foyer. Featured on the Millennium Stage are a range of art forms, including performing artists and groups. The two theaters

John F. Kennedy Center for the Performing Arts

of The Millennium Stage are equipped with lights, sound systems, and cameras. Every free event performed at this stage is recorded and archived on the Kennedy Center's website. These archives have been available to the public for free since 2009. VSA. VSA (formerly VSA arts) is an international nonprofit organization founded in 1974 by Ambassador Jean Kennedy Smith to create a society where people with disabilities learn through, participate in, and enjoy the arts. VSA provides educators, parents, and artists with resources and the tools to support arts programming in schools and communities. VSA showcases the accomplishments of artists

John F. Kennedy Center for the Performing Arts

with disabilities and promotes increased access to the arts for people with disabilities. Each year 7 million people participate in VSA programs through a nationwide network of affiliates and in 54 countries around the world. Affiliated with the Kennedy Center since 2005, VSA was officially merged into the organization in 2011 to become part of the Center's Department of VSA and Accessibility. Renovations and expansion. On June 16, 1971, Congress authorized appropriations for one year to the Board of Trustees for operating and maintenance expenses. In following years, the appropriations were provided to the National Park Service for operations

John F. Kennedy Center for the Performing Arts

, maintenance, security, safety and other functions not directly related to the performing arts activities. The National Park Service and the Kennedy Center signed a cooperative agreement requiring each party to pay a portion of the operating and maintenance costs based on what proportion of time the building was to be used for performing arts functions. The agreement did not specify who was responsible for long-term capital improvement projects at the Kennedy Center, along with only periodic funding by Congress for one-time projects. 1990–2005. In fiscal years 1991 and 1992, Congress recommended that $27.7 million be allocated for

John F. Kennedy Center for the Performing Arts

capital improvement projects at the Center, including $12 million for structural repairs to the garage and $15.7 million for structural and mechanical repairs, as well as projects for improving handicapped access. In 1994, Congress gave full responsibility to the Kennedy Center for capital improvement projects and facility management. From 1995 to 2005, over $200 million of federal funds were allocated to the Kennedy Center for long-term capital projects, repairs, and to bring the center into compliance with modern fire safety and accessibility codes. Improvements included renovation of the Concert Hall, Opera House, plaza-level public spaces

John F. Kennedy Center for the Performing Arts

, and a new fire alarm system. The renovations projects were completed 13 to 50 percent over budget, due to modifications of plans during the renovations resulting in overtime and other penalties. Renovations to the Eisenhower Theater were completed in 2008. 2013–present. Beginning in 2013, the Center commenced with an expansion project on four acres in the Center's South Plaza. The expansion adds classroom, rehearsal, and performance space and includes three pavilions (the Welcome Pavilion, the Skylight Pavilion, and the River Pavilion), reflecting pool, a tree grove, a sloping lawn to be used for outdoor performances, and a pedestrian

John F. Kennedy Center for the Performing Arts

bridge over Rock Creek Parkway. The architect is Steven Holl, with assistance from architectural firm BNIM. Edmund Hollander Landscape Architects is the landscape architect. Plans for the project began after David M. Rubenstein donated $50 million to the center. A groundbreaking ceremony took place in December 2014. Originally estimated to cost $100 million, the cost of the project grew to $175 million, and design changes and a major D.C. sewer project significantly delayed construction. The expansion, entitled the REACH, opened on September 7, 2019 with an opening arts festival. The fundraising goal for the new Reach arts

John F. Kennedy Center for the Performing Arts

center grew to $250 million as the project progressed, and the target was achieved just two days before opening. Since its opening, the REACH as received several design awards, such as the Architect's Newspaper Best of the Year Award in the Cultural category and an Honor Award in the 2020 AIA NY Design Awards. Management. Prior to 1980, daily operations of the Kennedy Center were overseen by the chairman of the board of directors, and by the board itself. Aspects of the center's programming and operations were overseen by various other people. George London was the Kennedy

John F. Kennedy Center for the Performing Arts

Center's first executive director (often called "artistic director" by the press, although that was not the formal title), serving from 1968 to 1970, while William McCormick Blair, Jr. was its first administrative director. Julius Rudel took over as music director in 1971. In 1972, Martin Feinstein replaced London and held the position of artistic director until 1980. Marta Casals Istomin was named the first female artistic director in 1980, a position she held until 1990; she was also the first person to be formally invested with that title. In 1991, the board created the position of chief operating officer

John F. Kennedy Center for the Performing Arts

to remove the day-to-day operations of the Kennedy center from the chairman and board. Lawrence Wilker was hired to fill the position, which later was retitled president. The artistic director continued to oversee artistic programming, under the president's direction. Michael Kaiser became president of the Kennedy Center in 2001. He left the organization when his contract expired in September 2014. In September 2014, Deborah F. Rutter became its third president; she is the first woman to hold that post. Rutter had previously been president of the Chicago Symphony Orchestra Association, a position she held from 2003. Board

John F. Kennedy Center for the Performing Arts

of Trustees. The Kennedy Center Board of Trustees, formally known as the Trustees of the John F. Kennedy Center for the Performing Arts, maintains and administers the Center and its site. David M. Rubenstein is the chairman of the board. The honorary chair members of the board are the First Lady and her living predecessors. Members of the board are specified by 20 USC 76h and include "ex officio" members such as the Secretary of Health and Human Services, the Librarian of Congress, the Secretary of State (substituting for the Director of the United States Information Agency after that agency

John F. Kennedy Center for the Performing Arts

was abolished), the Chairman of the Commission of Fine Arts, the Mayor of the District of Columbia, the Superintendent of Schools of the District of Columbia, the Director of the National Park Service, the Secretary of Education and the Secretary of the Smithsonian Institution, as well as 36 general trustees appointed by the President of the United States for six-year terms. References. Notes John F. Kennedy Center for the Performing Arts The John F. Kennedy Center for the Performing Arts (formally known as the John F. Kennedy Memorial Center for the Performing Arts, and commonly referred to as the

John F. Kennedy Center for the Performing Arts

Belobog Belobog Belbog or Bielbog (lit. "White God", reconstructed as "*Bělobogъ" or "*Bělъ Bogъ", from "*bělъ" ("white") + "*bogъ" ("god")) is the reconstructed name of the alleged god of auspicious fate worshiped by the Polabian Slavs. His name was derived by analogy to the Chernobog (lit. Black God) mentioned by Helmod in the "Chronica Slavorum", who is a god of bad luck, and from the name of toponyms, such as "Belye bogi", near modern Moscow. The pair of these gods is often presented as evidence of "Slavic dualism," although their authenticity is controversial. Sources. Section::::"Chronica Slavorum". The German monk and chronicler

Belobog

Helmold, who accompanied the Christianization missions against the Elbe Slavs, describes in his "Chronicle of the Slavs" the cult of Chernobog: Although the name "Belbog" is not mentioned anywhere in the "Chronicle", many researchers, by analogy to the ruler of bad luck-Chernebog, reconstruct the ruler of good luck-Belbog. Later sources. Belbog was first mentioned directly in the 16th century. In 1538, the Pomeranian chronicler Thomas Kantzow in his "Chronicle of Pomerania" wrote: Then Sebastian Münster, in "Cosmographiae universalis" of 1550, describes the harvest ritual associated with Svetovit and continues: "In general they (the Rugians) worshipped two gods, namely

Belobog

Belbuck and Zernebuck, as if a white and a black god, a good and an evil genius, God and Satan, as the source of good and evil, according to the error of the Manichaeans". The works of Kantzov and Münster are probably independent of each other (various forms of recording the name of the Belebog, the "Chronicle of Pomerania" was first published, but it was not published until the 19th century), but they use a common source, which, according to Miroslava Znayenko, could be the archive of the Abbey of , where the Belebog was forged. Daniel Cramer, a theologian and

Belobog

professor from Szczecin, probably held in his hands a copy of a chronicle from this archive or saw a quote from it, because in his "Pommerisches Kirchen-Chronicon" he probably paraphrased a part of it: The Belebog also appears in the anonymous "History of Caminensis" as the god of the Vandals, which is based on a piece by Münster (both works speak of the "error of the Manichaeans"). The Belebog also appears in other, later, minor texts. Interpretations. There is no consensus among researchers on the authenticity of the cult of Chernobog and Belebog. Some researchers believe that both gods

Belobog

are Helmod's invention, some assume the possibility of the existence of these gods, some assume that Chernobog and Belebog are nicknames for other gods. According to Aleksander Gieysztor, the gods are not a full personification, but a hypostasis of evil and good. Veselin Čajkanović, based on the names of Serbian places and sayings, believed that the Belebog is in fact Perun. The arguments for the authenticity of Belebog are the names of places in different parts of the Slavic region: the village of in the Czech Republic, Białobożnica in Ukraine, Bela Crkva ("White Tserkov"), tell Belo Brdo ("White Hill

Belobog

) in Serbia. There are also two places known locally as White gods" ("Belye bogi") near Radonezh (Moscow region), one of which may have served as a pagan place of worship. In the "Annals of Premonstratensia" it was claimed that the name derives from "Belbok, the idol of Pomeranians, which means the god of white and good". However, historians are not sure of the place's etymology and many have suggested that the name comes from the word "buk" ("beech") or "bok" ("side"). Some authors also used Mount Bieleboh (and Czorneboh) in Upper Lusatia, where the gods were supposed to be

Belobog

worshipped, but the names were most likely only created in modern times because of the popularity of the gods in the culture of the region. In Serbian folklore there is the expression "not to see a white god", and in Bulgarian "to cry out to a white god", which probably means the same as heaven or heavenly god. In Bulgarian folklore, there is also the expression "I have no White God from this man", which may mean a lack of good will. Belobog Belbog or Bielbog (lit. "White God", reconstructed as "*Bělobogъ" or "*Bělъ Bogъ", from "*bělъ" ("white") + "*bogъ

Belobog

Dazhbog Dazhbog Dazhbog (), alternatively Daždźbok (), Dažbog, Dazhdbog, Dajbog, Daybog, Dabog, Dazibogu, or Dadzbóg, was one of the major gods of Slavic mythology, most likely a solar deity and possibly a cultural hero. He is one of several authentic Slavic gods, mentioned by a number of medieval manuscripts, and one of the few Slavic gods for which evidence of worship can be found in all Slavic tribes. Sources. Dazhbog (or Dazhboh) is mentioned in the Primary Chronicle, a history of early Kievan Rus' as one of seven gods whose statues Prince Vladimir the Great erected in front of his palace in Kiev

Dazhbog

in 980, when he came to the throne. The name is also mentioned in the Hypatian Codex, as well as in the medieval Old East Slavic epic "The Tale of Igor's Campaign". Etymology. The Proto-Slavic reconstruction is *dadjьbogъ, and is composed of *dadjь, imperative of the verb *dati "to give", and the noun *bogъ "god". The original meaning of "Dazhbog" would thus, according to Dubenskij, Ognovskij and Niderle, be "giving god", "god-giver, "god-donor". Morphologically this word is an old compound, that is particularly interesting because it retains the old meaning of the Proto-Slavic *bogъ "earthly

Dazhbog

wealth/well-being; fortune", with a semantic shift to "dispenser of wealth/fortune" and finally "god". Due to the absence of convincing cognates in other Indo-European languages, Proto-Slavic *bogъ is often considered to be an Iranian borrowing, being related to Indo-Iranian Bhaga, or at least being semantically influenced by them; in both Slavic and Indo-Iranian cognate forms mean both "deity" and "wealth, share". Thus, translated literally, "Dazhbog" would be "giving god". In other languages, Proto-Slavic: *Daďьbogъ; Church Slavic: Даждьбог; Old East Slavic: Дажьбогъ; , Дажбог, or Дабог; Bulgarian, Ukrainian and Дажбог, Дайбог, or Дабог; , "Dażbóg", "Dabóg

Dazhbog

; , Дажбог, Дайбог, or Дабог; Serbo-Croatian: Daždbog" / Даждбог, "Dažbog" / Дажбог, "Dajbog" / Дајбог, or "Dabog" / Дабог. Characteristics. The most interesting passage about Dazhbog comes from the Hypatian Codex, a 15th-century compilation of several much older documents from the Ipatiev Monastery in Russia. The complete passage, reconstructed from several manuscripts, translates as follows: [Then] began his reign Feosta (Hephaestus), whom the Egyptians called Svarog ... during his rule, from the heavens fell the smith's prongs and weapons were forged for the first time; before that, [all] fought with clubs and stones. Feosta also commanded the women that they should have only

Dazhbog

a single husband ... and that is why Egyptians called him Svarog ... After him ruled his son; his name was the Sun, and they called him Dazhbog ... Sun tsar, son of Svarog. That is Dazhbog. This is, in fact, a Slavic translation of an original Greek manuscript of Malalin from the 6th century. In the Greek text, the names of gods are Hephaestus and Helios. Apparently, the unknown Rus translator tried to re-tell the entire story (set in Egypt) by replacing the names of classical deities with those that were better known to his readers. One can only hope that

Dazhbog

he indeed replaced the names of Greek gods with their fitting Slavic counterparts; however, at least one issue remains problematic: in all Slavic languages, the word for Sun, "Suntse", is of neutral or feminine gender, never masculine (however, there is an Old East Slavic epic character "Vladimir Beautiful Sun" or "Vladimir Bright Sun" () which has the same place as Arthur in English culture). Also, in Baltic mythology, which is most akin to Slavic, Sun is a female deity, Saule, while the Moon is a male one. The same pattern can be observed in the folklore of many Slavic nations, where

Dazhbog

the Sun is most often identified with mother or a bride, and Moon with father or husband, their children being the stars. Where exactly this leaves Dazhbog as a possible male solar deity of Slavic pantheon remains questionable. Furthermore, this passage has raised quite a few theories about family relations between Slavic gods. If we assume that indeed Svarog was believed to be Dazhbog's father, the question arises of his relation with Svarozhits, another deity who is mentioned as a god of fire and war in several other medieval documents describing the pagan beliefs of Slavs. Svarozhits is simply

Dazhbog

a diminutive of Svarog's name, i.e., "little Svarog", which implicates he was considered a child of Svarog. Vyacheslav Ivanov and Vladimir Toporov proposed a reconstruction of this mythical genealogy that Svarog, a deity of fire and forge similar to the Greek Hephaestus, had two sons; Dazhbog, who represented the fire in the sky (i.e., the Sun), and Svarozhits, who symbolised the flame on earth, in the forge. Henryk Łowmiański, however, theorised that Svarog was a Slavic sky god and personification of daylight sky itself, possibly a continuation of Proto-Indo-European "*Dyēus Phter", while Svarozhits and solar Dazhbog were

Dazhbog

the same deity, though, he concluded, two other aspects of Svarozhits also existed: fiery Svarozhits, as in the Sun (mentioned in Old East Slavic medieval manuscripts), and lunar Svarozhits, associated with the Moon. Franjo Ledic, on the other hand, assumed that Svarog and Dazhbog are the same god. Many mythologists also believe Dazhbog to be identical with another East Slavic deity with possible solar attributes, Khors. Osip Maximovich Bodjanskij based this theory on the following passage from Primary Chronicle: And Vladimir began his reign in Kiev alone and erected idols on the hill outside his palace with porch: Perun of

Dazhbog

wood with a head of silver and moustache of gold and Khors Dazhbog and Stribog and Simargl and Mokosh. Note that the names Khors and Dazhbog are the only two not clearly separated by the word "and" in the text. This could be an indication of a compound deity, Khors Dazhbog. On this basis, Toporov assumed that Khors could be an Iranian (possibly Sarmatian or Scythian) name for this god, and Dazhbog a Slavic one. Boris Rybakov compared Khors and Dazhbog to Helios and Apollo, respectively, concluding that both of them were solar gods, but while Hors represented the Sun

Dazhbog

itself, Dazhbog, as "deus dator", rather symbolised the life-giving power of the Sun. That Khors was indeed a solar deity was deduced from the following passage in the "Tale of Igor's Campaign": Vseslav the prince judged men; as prince, he ruled towns; but at night he prowled in the guise of a wolf. From Kiev, prowling, he reached, before the cocks crew, Tmutorokan. The path of great Khors, as a wolf, prowling, he crossed. In other words, prince Vseslav reached Tmutorokan before dawn, thus crossing the path of Khors, the Sun. In the mythical view of the world

Dazhbog

, the Sun has to pass through the underworld during the night to reach the eastern horizon by the dawn. This, and the fact that prince Vseslav is transformed into a wolf during the night, while "crossing the path of Khors", draws a parallel with the Serbian Dabog, who, as stated already, was believed to be a lame "wolf shepherd" who rules over the underworld. Of particular interest is the fact that Serbian folk accounts describe him as being lame; lameness was a standing attribute of Greek Hephaestus, whom, as we have seen, the Hypatian Codex compared with Slavic smith-god

Dazhbog

Svarog, father of Dazhbog. (In fact, most of Indo-European smith-gods were lame; the reason for this was most likely , low levels of arsenic poisoning, resulting in lameness and skin cancers. Arsenic was added to bronze to harden it, and most smiths of the Bronze Age would have suffered from chronic workplace poisoning.) Serbian Dabog, being lord of the underworld, was also associated with precious metals, and sometimes was said to have a silver beard. Veselin Čajkanović concluded that the chthonic character of Dabog in Serbian folklore fits very nicely with the solar Dazhbog mentioned in Old East Slavic

Dazhbog

sources, pointing out that in numerous mythologies, solar deities tend to have double aspects, one benevolent, associated with the Sun during the day, and the other malevolent, associated with night, when the Sun is trapped in the underworld. In his studies of Serbian folklore, Čajkanović also concluded that many more benevolent aspects of Dazhbog were passed on to popular saints in folk Christianity, in particularly onto St. Sava, Serbian national saint, who, although undoubtedly was a real historical person, in folk tales often appears in the role of culture hero. The fact that in the "Tale of Igor's Campaign

Dazhbog

, the Rus and their princes are being referred to as Dazhbog's grandchildren", indicates that Dazhbog was considered as an ancestral deity, a common role of a culture hero archetype in mythologies. In modern culture. A sculpture of the god was erected in Hola Prystan, Ukraine early in 2001. Some days later, it was broken up due to the objections by the church. On April 10, 2016, a Dazhdbog idol was installed by the Slavic pagans in a particularly revered place in the city of Astrakhan, Russia. On April 12, 2016, information about the desecration of idols and destruction all

Dazhbog

the adjacent territories had become known. Dazhbog Dazhbog (), alternatively Daždźbok (), Dažbog, Dazhdbog, Dajbog, Daybog, Dabog, Dazibogu, or Dadzbóg, was one of the major gods of Slavic mythology, most likely a solar deity and possibly a cultural hero. He is one of several authentic Slavic gods, mentioned by a number of medieval manuscripts, and one of the few Slavic gods for which evidence of worship can be found in all Slavic tribes. Sources. Dazhbog (or Dazhboh) is mentioned in the Primary Chronicle, a history of early Kievan Rus' as one of seven gods whose statues Prince Vladimir the Great erected in

Dazhbog

Devana Devana Devana ( , ), Zevana (), less often Zievonya () is the goddess of wild nature, forests, hunting and the moon worshiped by the Western Slavs. In the sources, she was first mentioned in the 15th century by Jan Długosz, who compared her to the Roman goddess Diana. "Dziewanna" is also a Polish name for "Verbascum", and the etymology of the word is unclear. After strong criticism from Aleksander Brückner, researchers rejected her authenticity, but nowadays it is accepted by an increasing number of researchers. Sometimes, in folk rituals, she performs together with Morana. Etymology. Proto-Slavic name for "Verbascum" is reconstructed as "*divizna

Devana

(cf. , Czech and , ), with secondary form as *divina" (cf. , ). That word has an Proto-Balto-Slavic origin and appears in Lithuanian language as e.g. "devynspė͂kė", "devynjėgė". The only cognate from outside the Balto-Slavic group may be Dacian word "διέσεμα"/"diésema" (Dioscorides), which is being derived from "*diu̯es-eu̯smn" („burning sky”) and compared to German "Himmelbrand" ("Verbascum"; „burning heavens”), but exact etymology of Slavic word is unclear. Russian linguist and etymologist Aleksandr Anikin notes a similarity between the Lithuanian terms for "Verbascum" and the Lithuanian word "devynì" "nine". There are several interpretations of Devana's name. The most obvious etymology are

Devana

words such as "dziewa", "dziewka", "girl, young woman, maiden", and "dziewica", "virgin", a word derived from the "dziewa". This etymology can be supported by fact, that Diana (and Artemis – her greek equivalent) is usually depicted in myths as a virgin and has never had any offspring or a consort. Another word, from which the name of the goddess may come from, may be the old Polish "dziwy", "wild". It was also proposed to combine Devana's name with the Proto-Indo-European god of heaven "*Dyēus". Slavic folklore includes demons with a similar name, e.g. Polish and Czech dziwożona, Russian

Devana

div, Bulgarian and Croatian samodiva ("rusalka, boginka, the magical creature"), etc. It is assumed that the feminine demons-divas derive from the Proto-Slavic word "*diva", and this word is the feminine form of the word "*divъ" ("div (demon)"). "*divъ" is derived from the PIE. word "*Dyēus" ("god of heaven") through the intermediate *"deywós" ("heavenly") and its closest related word is Dievs – god of heaven in Baltic mythology. "*Dyēus" in the Slavs has acquired demonic characteristics as a result of cultural contacts with Iranian peoples, who have demonized the Iranian continuator of "*Dyēus" as a result of the Zoroastrianist reform

Devana

. An argument for such an etymology is that Diana is also etymologically derived from "*Dyēus". Anikin notes that "Verbascum" has sometimes been used to lighten hair, and combines the word with PIE. the root "*dei-u̯-" or "*dī-" ("to shine, to be bright"), from which also comes "*Dyēus". The suffix "-ana", "-anna", which occurs in the names of many goddesses, may be derived from the PIE. word "*ansu" meaning "lord, ruler, god". Sources. The first source to mention Devana is the Czech "Mater Verborum" - a Latin dictionary dating back to the 13th century. The text of the dictionary can be

Devana

read: "Diana, Latonae et Iouis branch" ("Diana, daughter of Jupiter and Latona") and a Czech gloss: "Devana, Letuicina and Perunova dci" ("Devana, daughter of Letuna and Perun"). However, "Mater Verborum" was discovered in the 18th century by Václav Hanka, who was proved to have falsified texts on Czech history, making this source incredible. The main source about Devana is Jan Długosz's "Annales": In another place he writes that when Mieszko ordered to drown the idols of the pagan gods, "this destruction and drowning of the idols is still present and renewed in some Polish villages, where they carry the

Devana

images of Devana and Morena on a long stick and throw them into the swamps and sink on Laetare Sunday". However, the information of Długosz that the custom of drowning Death is a legacy of the destruction of Slavic idols by Christians is false, because this custom is already condemned in the "Provincial statutes in short", which were written before Długosz's "Annales" (1420s). In "Polish Chronicle" a similar custom is described by Marcin Bielski: From Poland, the goddess is also mentioned by Maciej Stryjkowski: "Diana, the goddess of hunting, was called by the Sarmatians Zievonya or Devana in their

Devana

language", "Christ, you enlightened Mieszko who was born blind, and you brought Poland to your baptism. Grom, Ladon, Morana, Pogvizd, Zevana gave up to you". Devana is also mentioned by Miechowita, Guagnini, Kromer and priest Wujek. Regardless of Długosz, this goddess is mentioned by Oskar Kolberg in his work on Lusatia: „Dživica, goddess of forests and hunting, peculiarly in southern Sorbs. This beautiful woman with a bow and arrow has greyhounds. They also talk about someone who stayed in the forest at noon: Hladaj so, zo dživica k tebi ńepřindže. They think that she is hunting also by moonlight. Džiwi

Devana

[means here] wild, and dživina [means] wildmeat.” Devana can also be confirmed by toponymy, e.g. the Děvín peak in the , Devínska Nová Ves, or Devin – a Slavic name for Magdeburg and others. The only potential, non-Western Slavic source is "Sermon by Saint Gregory", which lists the figure of Diva alongside other gods such as Mokosh and Perun. Diva passed from Old Russian to Czech and was considered by Josef Jungmann as another name of goddess Lada. Folklore. Devana, apart from the sources mentioned above, does not appear directly in folklore, but some legends may point to her. Devana may

Devana

be indicated by the legend of Łysa Góra, which was presented as "Polish Olympus" in Polish culture. According to local legends, before the monastery was built there, on Łysa Góra in pre-Christian times stood a gord ("Wielkopolska Chronicle") or a castle (Długosz). According to Długosz, the castle was to be built by giants, and in the folk version by the "Proud Lady", which was her seat. The Proud Lady, who was to defeat Alexander the Great, fell into pride and declared herself Diana. God did not bear it and destroyed the castle with lightning. and interpret The "Proud Lady

Devana

as Devana. Later on, Devana is mentioned by the Scottish folklorist James G. Frazer in his The Golden Bough", who describes a Silesian custom where the figure of Death (Marzanna) is melted or destroyed. Then, the young people go to the forest, cut down a small fir, strip away the bark and then decorate it with festoons, paper roses, pisanki, etc. The tree is called "May" or "Summer". Then the boys walk with this tree from house to house and sing songs: Frazer continues: "Sometimes they also bring from the forest a nicely assumed doll, which they call "Summer", "May

Devana

or Fiancée". In Poland they call her the Devana, the goddess of spring". A similar practice is described by Marcin Kromer in "De origine et rebus gestis Polonorum libri XXX". In Podlasie region, the "Princess", a beautiful girl dressed in colorful robes, flowers and red beads was shown around, which may be related to the Silesian custom. In Slavic folklore there are devony () – female mountain spirits or demons living in the caves, engaged in spinning, related to the forest fleece, who may be a demonized Devana. It can be similar with dziwożony. Herb. in Polish, "dziewanna" (less often "dziwizna") is

Devana

also the name for "verbascum", used for skin care and treatment of respiratory problems. Marcin of Urzędów in his "Polish Herbal" lists herb ("Artemisia"), which was used in pagan rituals and whose Latin name comes from Artemis-Diana: Due to the existence of a plant with the same name, which was used during various rituals, some researchers claimed that the "dziewanna" was wrongly considered a goddess. Szyjewski notes, however, that the "dziewanna" was sometimes called the "braid of the Virgin Mary", and Kolankiewicz that in medieval iconography the Blessed Virgin Mary was sometimes depicted with the "verbascum" in her hand

Devana

, and "marzanna" (name for six plants), was also a synonym for the "dziewanna" in the 16th century. Interpretations. The first studies on the "pantheon of Długosz" denied the existence of all or most of the gods he mentioned. The main critics were Aleksander Brückner and Stanisław Urbańczyk. After rejecting the hypercritical approach to "pantheon of Długosz" many researchers, such as Aleksander Gieysztor, Andrzej Szyjewski, Vyacheslav Ivanov and Vladimir Toporov, have been inclined to acknowledge the authenticity of at least some "Polish gods", including Devana. In Greek mythology, Artemis' helpers are nymphs, whose closest Slavic equivalents are boginki, which are found

Devana

in Western Slavs, mainly in Poland. Boginki are young girls dressed in white or naked, who inhabited the shores of reservoirs, forests and caves from which they come out at night, especially on summer moon nights. They took care of wild animals and were often hostile to people, especially men. The moon was their "god" – it ruled their activity. Boginki were also supposed to shoot from a bow. In the Ruthenian legends, the number of vilas (similar to boginki) which are sisters, is 27 ("three times nine") or, in another version, 30, and this may be related to the ecliptic

Devana

division into 27 zodiacs (eg Nakshatra in Hinduism) and lunation. These features of boginki-nymphs may tie them to Devana-Artemis – goddess of forests and the moon. Double goddess. Due to the multiple appearances of the pair Devana and Morana in the spring ceremonies, some researchers have suggested that both of these goddesses could be the two faces of one goddess of life and death. A similar motif occurs in Indo-European religions, e.g. the Scandinavian Hel ("one half of her face had a handsome and pleasant expression, the other half dead and hideous") or the Greek couple Persephone-Kora

Devana

, who spent half a year underground and half a year on earth. According to Kolankiewicz, double goddess may be indicated by alleged connection of Devana with Proto-Slavic "*diva" ("female spirit, boginka") and Iranian deva ("demon"). The archaic nature of Devana and Morana may be indicated by a connection to vegetation, and that connects them to Mother Earth. In Christianity. During the Christianization, Devana could have been replaced by Our Lady of Thunder Candle (). Polish legend says that she walks on February nights and protects fields from freezing. The iconography depicts her with the wolf (or wolves) she protected from

Devana

death from the peasants, and whom she made her servant, with a basket or a nest of larks at her feet, whose squeal was to herald the imminent coming of spring. In her hands, she always holds a "thunder candle" (, from "grom" "thunder"), which was used for fortune-telling, protect the house from wolves, lightning or evil, and used to burn the hair of children to protect them from ear disease. Thunder candle often occurs in sayings about the coming of spring. In the past, thunder candle wicks were made of "verbascum" and sometimes was named "knotnica" (from "knot" "wick

Devana

), royal candle" or "braid of the Virgin Mary". Connecting the feast of Our Lady of Thunder Candle (Candlemas) with wild animals appears in other Slavic countries. Devana Devana ( , ), Zevana (), less often Zievonya () is the goddess of wild nature, forests, hunting and the moon worshiped by the Western Slavs. In the sources, she was first mentioned in the 15th century by Jan Długosz, who compared her to the Roman goddess Diana. "Dziewanna" is also a Polish name for "Verbascum", and the etymology of the word is unclear. After strong criticism from Aleksander Brückner, researchers rejected her authenticity, but nowadays it is

Devana

Punycode Punycode Punycode is a representation of Unicode with the limited ASCII character subset used for Internet hostnames. Using Punycode, host names containing Unicode characters are transcoded to a subset of ASCII consisting of letters, digits, and hyphens, which is called the letter–digit–hyphen (LDH) subset. For example, "München" (German name for Munich) is encoded as "Mnchen-3ya". While the Domain Name System (DNS) technically supports arbitrary sequences of octets in domain name labels, the DNS standards recommend the use of the LDH subset of ASCII conventionally used for host names, and require that string comparisons between DNS domain names should

Punycode

be case-insensitive. The Punycode syntax is a method of encoding strings containing Unicode characters, such as internationalized domain names (IDNA), into the LDH subset of ASCII favored by DNS. It is specified in IETF Request for Comments 3492. Encoding procedure. As stated in RFC 3492, "Punycode is an instance of a more general algorithm called "Bootstring", which allows strings composed from a small set of 'basic' code points to uniquely represent any string of code points drawn from a larger set." Punycode defines parameters for the general Bootstring algorithm to match the characteristics of Unicode text. This section demonstrates

Punycode

the procedure for Punycode encoding, using the example of the string "bücher" ("Bücher" is German for "books"), which is translated into the label "bcher-kva". Separation of ASCII characters. First, all ASCII characters in the string are copied from input to output, skipping over any other characters. For example, "bücher" is copied to "bcher". If any characters were copied, i.e. there was at least one ASCII character in the input, an ASCII hyphen is added to the output next (e.g., "bücher" → "bcher-", but "ü" → ""). Since the ASCII hyphen is an ASCII character, the hyphen may itself appear in

Punycode

the output before this additional hyphen. However, the additional hyphen does not cause any ambiguity when reading the output, as no later part of the encoding process can introduce another ASCII hyphen; if there are one or more ASCII hyphens in the output, the last one always signifies the end of the ASCII characters. Encoding of non-ASCII character insertions as code numbers. The next part of the encoding process first requires an understanding of the decoder, which is a finite-state machine with two state variables "i" and "n". "i" is an index into the string ranging from zero

Punycode

(representing a potential insertion at the start) to the current length of the extended string (representing a potential insertion at the end). "i" starts at zero, and "n" starts at 128 (the first non-ASCII code point). The state progression is a monotonic function. A state change either increments "i" or, if "i" is at its maximum, resets "i" to zero and increments "n" by 1, then goes back to incrementing "i" in the following state change. At each state change, either the code point denoted by "n" is inserted or it is not inserted. The code numbers generated by

Punycode

the encoder represent how many possibilities to skip before an insertion is made. There are six possible places to insert a character in the current string "bcher" (including before the first character and after the last one). There are 124 code points between the last ASCII code point (127 = 0x7F, the end of ASCII) and "ü" (code point 252 = 0xFC, see Unicode's Latin-1 Supplement). Also there is one position to insert a "ü" that needs to be skipped (at position zero: before the 'b'). That is why it is necessary to tell the decoder to skip a

Punycode

total of (6 × 124) + 1 = 745 possible insertions before getting to the one required. Once the character is inserted, there are now seven possible places to insert another character. Re-encoding of code numbers as ASCII sequences. Punycode uses generalized variable-length integers to represent these values. For example, this is how "kva" is used to represent the code number 745: A number system with little-endian ordering is used which allows variable-length codes without separate delimiters: a digit lower than a threshold value marks that it is the most-significant digit, hence the end of

Punycode

the number. The threshold value depends on the position in the number and also on previous insertions, to increase efficiency. Correspondingly the weights of the digits vary. In this case a number system with 36 symbols is used, with the case-insensitive 'a' through 'z' equal to the decimal numbers 0 through 25, and '0' through '9' equal to the decimal numbers 26 through 35. Thus "kva", corresponds to the decimal number string "10 21 0". To decode this string of symbols, a sequence of thresholds will be needed, in this case it's (1, 1, 26, 26, ...). The weight

Punycode

(or place value) of the least-significant digit is always 1: 'k' (=10) with a weight of 1 equals 10. After this, the weight of the next digit depends on the first threshold: generally, for any "n", the weight of the ("n"+1)-th digit is the weight of the previous one times (36 − threshold of the "n"-th digit). So the second symbol has a place value of 36 minus the previous threshold value, in this case, 35. Therefore, the sum of the first two symbols 'k' (=10) and 'v' (=21) is 10 × 1 + 21 ×

Punycode

35. Since the second symbol is not less than its threshold value of 1, there is more to come. However, since the third symbol in this example is 'a' (=0), we may ignore calculating its weight. Therefore, "kva" represents the decimal number (10 × 1) + (21 × 35) = 745. The thresholds themselves are determined for each successive encoded character by an algorithm keeping them between 1 and 26 inclusive. The case can then be used to provide information about the original case of the string. Because special characters are sorted by their code points by encoding algorithm

Punycode

, for the insertion of a second special character in "bücher", the first possibility is "büücher" with code "bcher-kvaa", the second "bücüher" with code "bcher-kvab", etc. After "bücherü" with code "bcher-kvae" comes codes representing insertion of ý, the Unicode character following ü, starting with "ýbücher" with code "bcher-kvaf" (different from "übücher" coded "bcher-jvab"), etc. To make the encoding and decoding algorithms simple, no attempt has been made to prevent some encoded values from encoding inadmissible Unicode values: however, these should be checked for and detected during decoding. Punycode is designed to work across all scripts, and

Punycode

to be self-optimizing by attempting to adapt to the character set ranges within the string as it operates. It is optimized for the case where the string is composed of zero or more ASCII characters and in addition characters from only one other script system, but will cope with any arbitrary Unicode string. Note that for DNS use, the domain name string is assumed to have been normalized using nameprep and (for top-level domains) filtered against an officially registered language table before being punycoded, and that the DNS protocol sets limits on the acceptable lengths of the output

Punycode

Punycode string. Examples. The following table shows examples of Punycode encodings for different types of input. Internationalized domain names. To prevent non-international domain names containing hyphens from being accidentally interpreted as Punycode, international domain name Punycode sequences have a so-called ASCII Compatible Encoding (ACE) prefix, "xn--", prepended. Thus the domain name "bücher.tld" would be represented in ASCII as "xn--bcher-kva.tld". Punycode Punycode is a representation of Unicode with the limited ASCII character subset used for Internet hostnames. Using Punycode, host names containing Unicode characters are transcoded to a subset of ASCII consisting of letters, digits, and hyphens, which is

Punycode

Henry Lawrence Henry Lawrence Henry Lawrence may refer to: Henry Lawrence Henry Lawrence may refer to:

Henry Lawrence

Yarilo Yarilo Jarylo (Cyrillic: Ярило or Ярила; ; , Јарило; ), alternatively Yaryla, Iarilo, or Gerovit, is a Slavic god of vegetation, fertility and springtime. Etymology. The Proto-Slavic root "*jarъ" (jar), from Proto-Indo-European "*yōr-", "*yeh₁ro-", from "*yeh₁r-", means "spring" or "summer", "strong", "furious", "imbued with youthful life-force". This youthful life-force was considered sacred in the Slavic pre-Christian religion and the god personifying this sacred force was thus called Jarovit, or hypocoristically Jarilo. Sources. The only historic source that mentions this deity is a 12th-century biography of the proselytizing German bishop Otto of Bamberg, who, during his expeditions

Yarilo

to convert the pagan tribes of Wendish and Polabian Slavs, encountered festivals in honor of the war-god Gerovit in the cities of Wolgast and Havelberg. Gerovit is most likely a German derivation of the Slavic name "Jarovit". Up until the 19th century in Russia, Belarus and Serbia, folk festivals called "Jarilo" were celebrated in late spring or early summer. Early researchers of Slavic mythology recognised in them relics of pagan ceremonies in honor of an eponymous spring deity. In northern Croatia and southern Slovenia, especially White Carniola, similar spring festivals were called "Jurjevo" or "Zeleni Juraj" or "Zeleni Jurij

Yarilo

(Green George), nominally dedicated to St. George, and fairly similar to the Jarilo festivals of other Slavic nations. All of these spring festivals were basically alike: processions of villagers would go around for a walk in the country or through villages on this day. Something or someone was identified to be Jarilo or Juraj: a doll made of straw, a man or a child adorned with green branches, or a girl dressed like a man, riding on a horse. Certain songs were sung which alluded to Juraj/Jarilo's return from a distant land across the sea, the return of Yarilo 7902725 spring into the world, blessings, fertility and abundance to come. Myth. Radoslav Katičić and Vitomir Belaj attempted to reconstruct the mythology surrounding Jarilo. According to these authors, he was a fairly typical life-death-rebirth deity, believed to be (re)born and killed every year. His mythical life cycle mirrored that of the wheat crop, from its birth when sown through its flourishing youth to its sacrificial death at harvest time. Jarilo was a son of the supreme Slavic god of thunder, Perun, his lost, missing, tenth son, born on the last night of February, the festival of Velja Noć" (Great

Yarilo

Night), the pagan Slavic celebration of the New Year. On the same night, however, Jarilo was stolen from his father and taken to the world of the dead, where he was adopted and raised by Veles, Perun's enemy, Slavic god of the underworld and cattle. The Slavs believed the underworld to be an ever-green world of eternal spring and wet, grassy plains, where Jarilo grew up guarding the cattle of his adoptive father. In the mythical geography of ancient Slavs, the land of the dead was assumed to lie across the sea, where migrating birds would fly every

Yarilo

winter. With the advent of spring, Jarilo returned from the underworld, that is, bringing spring and fertility to the land. Spring festivals of Jurjevo/Jarilo that survived in later folklore celebrated his return. Katičić identified a key phrase of ancient mythical texts which described this sacred return of vegetation and fertility as a rhyme hoditi/roditi (to walk/to give birth to), which survived in folk songs: The first of the gods to notice Jarilo's return to the living world was Morana, a goddess of death and nature, and also a daughter of Perun and Jarilo's twin-sister

Yarilo

. The two of them would fall in love and court each other through a series of traditional, established rituals, imitated in various Slavic courting or wedding customs. The divine wedding between brother and sister, two children of the supreme god, was celebrated in a festival of summer solstice, today variously known as Ivanje or Ivan Kupala in the various Slavic countries. This sacred union of Jarilo and Morana, deities of vegetation and of nature, assured abundance, fertility and blessing to the earth, and also brought temporary peace between two major Slavic gods, Perun and Veles, signifying heaven and underworld. Thus

Yarilo

, all mythical prerequisites were met for a bountiful and blessed harvest that would come in late summer. However, since Jarilo's life was ultimately tied to the vegetative cycle of the cereals, after the harvest (which was ritually seen as a murder of crops), Jarilo also met his death. The myth explained this by the fact that he was unfaithful to his wife, and so she (or their father Perun, or their brothers) kills him in retribution. This rather gruesome death is in fact a ritual sacrifice, and Morana uses parts of Jarilo's body to build herself a new

Yarilo

house. This is a mythical metaphor which alludes to rejuvenation of the entire cosmos, a concept fairly similar to that of Scandinavian myth of Ymir, a giant from whose body the gods created the world. Without her husband, however, Morana turns into a frustrated old hag, a terrible and dangerous goddess of death, frost and upcoming winter (like the Celtic Cailleach), and eventually dies by the end of the year. At the beginning of the next year, both she and Jarilo are born again, and the entire myth starts anew. Description. As befitting an agricultural deity, Yarilo was associated with

Yarilo

agricultural imagery, with grains and cereals: he wore a white cloak and a wheat wreath or a crown of flowers (wildflowers) on his head and carried a wheat sheaf in his right hand. He was also portrayed holding a human skull (or severed head) in his other hand. He is also said to be revered as "god of erotic sexuality". Scholars Katičić and Belaj also suggested that the god had some equine characteristics, or, alternatively, was conceived of as a horse. Comparison with other deities. From comparison to Baltic mythology and from Slavic folklore accounts, one can deduce that Jarilo

Yarilo

was associated with the Moon. His somewhat mischievous nature, which ultimately results in his betrayal of his wife, was likened to the Moon's changing phases. He has also been compared to other death and rebirth gods associated with agricultural fertility, like Greek Adonis and Olympian god Dionysus. Identification with St. George. With the advent of Christianity, Jarilo became identified with St. George and St. John, because the festivals of these two saints fell within the period between first growth and harvest time in the great annual cycle of vegetation and fertility. This made them especially suited to assuming the

Yarilo

functions of this god under the new, Christian dispensation. Yarilo Jarylo (Cyrillic: Ярило or Ярила; ; , Јарило; ), alternatively Yaryla, Iarilo, or Gerovit, is a Slavic god of vegetation, fertility and springtime. Etymology. The Proto-Slavic root "*jarъ" (jar), from Proto-Indo-European "*yōr-", "*yeh₁ro-", from "*yeh₁r-", means "spring" or "summer", "strong", "furious", "imbued with youthful life-force". This youthful life-force was considered sacred in the Slavic pre-Christian religion and the god personifying this sacred force was thus called Jarovit, or hypocoristically Jarilo. Sources. The only historic source that mentions this deity is a 12th-century biography of the proselytizing

Yarilo

Lada (mythology) Lada (mythology) Lada and Lado are alleged Slavic deities. Lada was first mentioned around 1405-1412 in the sermons of Lucas of Wielki Koźmin, which warned against worshipping Lada and other gods during spring ceremonies and folk performances. They owe their popularity to Długosz, who in one of his sources recognized Lada as a goddess and in another as a god of war, the Polish equivalent of the Roman god Mars, to Aleksandr Faminstyn, who recognized the word "Lada" in Russian songs as the goddess of marriage, and to scholar Boris Rybakov, who insisted on recognizing her historicity. However, the

Lada (mythology)

vast majority of religious scholars and Slavists reject the historicity of these deities, believing that they owe their divine status to a misunderstanding of the song refrains by medieval scribes. By some scholars of Baltic mythology, Lada was also worshipped by the Balts, but this view is also considered controversial. Planetoid (2832) Lada was named after her. Sources. Polish. The first source mentioning the theonym "Lada" is the "Gniezno Sermons", which were written by Lucas of Wielki Koźmin around 1405-1412, without giving any description: Similar cautions, also without any description, are also found in: "Statua provincialia breviter" (1420-1422

Lada (mythology)

), "Sermones per circulum anni Cunradi" (1423), "Postilla Husitae anonymi", and in glosses of "Life of Adalbert of Prague". The theonyms contained in the "Gniezno Sermons" were also repeated by Jan Długosz, who made an "interpretatio romana" and compared Lada to the Roman war god Mars: After Długosz the information about Lada was repeated by Maciej Miechowita, Marcin Kromer, Alexander Guagnini, Maciej Stryjkowski, Marcin and Joachim Bielski, and the priest Jakub Wujek. Maciej Miechowita, who copied information from Długosz, did not agree with him, however, on the function of Lada and "corrected" Długosz' information, comparing her to the Greek Leda and

Lada (mythology)

recognising her as the mother of Lel and Polel: Outside the "Annals", in "Insignia seu clenodia Regis et Regni Poloniae", Długosz also mentions the female deity Lada, worshipped in the village of Łada near the river Łada, from which the Łada family took its name: "Łada took its name from the name of a Polish goddess who was worshipped in Mazovia in the town and village of Łada". She is also mentioned in the : "there was a church of three idols, which were called Lada, Boda, Leli, to which the ordinary people went on the first of May to make

Lada (mythology)

prayers to them and to offer them.". East Slavic. God Lado appears twice in Eastern sources. The first is the "Hustyn Chronicle", written in Church Slavonic from the 17th century, with an uncertain exact date of composition and an uncertain author. This source recognizes Lado as the god of marriage and joy, and compares him to the Greek god Bacchus-Dionysus: Similar informations are found in the "Kievan Synopsis" of 1674 by Innocent Gizel, which mentions Lado as a deity of happynest, to whom offerings were made during wedding preparations. Leli and Poleli, and their mother, were also supposed to

Lada (mythology)

be worshipped by singing "lado, lado, lado". Historicity. Sources. The only "independent" source mentioning the deity of Lada/Lado are the "Gniezno Sermons", and other sources are dependent on them. The theonyms contained therein were then used and popularized by Jan Długosz in his "Annals", where he did "interpretatio romana" and compared Lada to the Roman god of war Mars. Długosz's description was then copied by subsequent Polish authors, such as Maciej Miechowita. Długosz and Miechowita together became sources for Marcin Kromer. Długosz, Miechowita and Kromer together became sources for Maciej Stryjkowski, Marcin and Joachim Bielski. Alexander Guagnini took

Lada (mythology)

his information from Stryjkowski and was even accused of plagiarism by him. He differs, however, as to the function of the gods. The information contained in was copied from Maciej Miechowita. Additionally, there is no information about such a cult on Łysa Góra in other sources and it is contradicted by archaeology. East Slavic sources cannot be considered independent sources either. Although the "Hustyn Chronicle" contains original content, it is also a compilation of various earlier East Slavic as well as Polish sources. The fragment of "Chronicle" mentioning the god Lado copies information from Kromer, Marcin Bielski, and Guagnini

Lada (mythology)

. The same problem applies to the "Synopsis", which copied information from Kromer and Stryjkowski, as well as from the "Chronicle". Genesis. Originally, the authenticity of the deity/deities was not denied and they appeared in the Slavic Romantics. Their authenticity was also assumed by early 18th and 19th century authors, such as Mikhail Popov, Mikhail Chulkov and Andrey Kaisarov, who assumed the authenticity of the "Synopsis". The value of the "Chronicle" was also recognized by the Russian musicologist and composer Aleksandr Faminstyn in his work "Bozhestva drevnikh slavyan" (1884). According to him, in the 17th century, in Croatia, a song

Lada (mythology)

to the "holy god Lado" sung by girls dancing around a bonfire was recorded: Additionally, he analyzed songs from all over the Slavdom, the existence of which was to prove the existence of the goddess Lada, wife of Lado. He believed that the theonyms should be translated as "consent", and connected them with the Roman goddess of concord and harmony Concordia, whose name also translates as "consent", and further with the goddess Bona Dea. However, starting in the 19th century, critical voices began to appear in the scientific community about the authenticity of the deities. One of the first and

Lada (mythology)

most influential was ethnographer and linguist Alexander Potebnja. After analyzing the source material, mainly song fragments, he came to the conclusion that "lada" appears in spring, summer and wedding songs, and that there are no grounds to consider this word as a remnant of the old goddess. This position was later upheld by linguists Gregor Kreka and Aleksander Brückner, as well as Max Vasmer and Oleg Trubachyov. Contemporary scholars overwhelmingly reject the authenticity of the deities Lada and Lado, believing, as in the case of Jesza, that the word "lada", incomprehensible to the scribe, found in folk songs, was mistakenly

Lada (mythology)

considered a theonym, and then its attributes were added. This view is shared by scholars who consider at least part of Długosz's mythological account to be valuable, such as Aleksander Gieysztor, Andrzej Szyjewski, or Vyacheslav Ivanov and Vladimir Toporov. The last influential scholar to insist on recognizing the historicity of Lada was Boris Rybakov. In his work, "Yazychestvo drevnikh slavyan" (1981), he hypothesized an Indo-European origin for the goddess Lada and compared her to the Greek Leda and Demeter. In addition, he considered another alleged goddess, Lelya, to be her daughter, and considered them both to be identical

Lada (mythology)

with the Rozhanitse, and to be important deities in the Slavic pantheon before the rise of the "Vladimir's pantheon". According to him, Lada and Lelya ruled over spring nature and agricultural work, fertility, love and marriage. However, he negatively referred to the male god Lado claiming that "lado" is a vocative case from "lada". The word "lada" means "wife, female lover, consort", and "husband, male lover, consort" – it is a two-gender noun and was used for women as well as men; in this respect Brückner compares it to the Polish word "sługa". The word occurs, for example, in

Lada (mythology)

Old East Slavic as лада, "lada" "husband" (e.g. in "The Tale of Igor's Campaign", the longing wife calls out: "bring my "husband" ("lada") to me"), Czech "lada" "beloved" or "maiden, girl" (e.g. in : "Oh, what a wonder has happened, Jesus Christ, over your "beloved" ("lada")"), Ukrainian ла́до, "lado" "husband", ла́да, "lada" "wife", Serbo-Croatian ла̏да "lada" "wife", or Bulgarian ла́да, "lada" "the second daughter in the family who goes for water during the "laduvane" (ладу́ване – wedding tradition)". knows the Polish word "łada" only from sermons speaking about deity, so probably the word was no longer functioning in living language

Lada (mythology)

in the 15th century. The form "Alado" appearing in "Postilla Husitae anonymi" is probably the result of an attempt to adapt the word to Italian phonology. The form "lado" is not a separate word, but a vocative case from the word "lada". From Slavic languages the word was borrowed into Baltic languages e.g. as "lado", "laduto" etc. Krzysztof Tomasz Witczak tried to read the Długosz's theonym "Lyada" differently from other researchers. According to him, the Latin "Lyada" corresponds to the Old Polish form "*Lęda" because the consonant ⟨l⟩ in medieval Latin in Poland was written as "ly" or "li

Lada (mythology)

, and he considers that the reading *Łada" is unjustified and represents a folk etymology. He believed that "*Lęda" was supposed to be a pagan theonym that had been demonized, and he refers here to the Russian dialectical words ляд, "lyad", and ляда, "lyada" meaning "unclean spirit, devil". However, as Michał Łuczyński notes, the assumption that the "ly" notation corresponds to the vowel ⟨l⟩ justifies the reading of the Latin name as "*Lada" rather than "*Lęda". In addition, an analysis of Długosz's personal spelling features shows that the "ly" notation also served him for the consonant ⟨ł⟩, e.g: "Lyassza Gora

Lada (mythology)